Best 357 quotes in «narrative quotes» category

When you're looking through a magazine, what makes you stop and think is when you see an image and imagine the narrative that is going on inside of it. Those are the ones I make into paintings.

All men needed to hear their stories told. He was a man, but if he died without telling the story he would be something less than that, an albino cockroach, a louse. The dungeon did not udnerstand the idea of as tory. The dungeon was static, eternal, black and a story needed motion adn tiem and light. He felt his story slipping away from him, beocming inconsequential, ceasing to be. He has no story. There was no story. He was not a man. There was no man here. There was only the dungeon, and the slithering dark.

Whole swaths of the book [Lincoln in the Bardo] are made up of verbatim quotes from various historical sources, which I cut up and rearranged to form part of the narrative.

Within a scantily plotted, novella-style narrative (the movie is an adaptation of a short story by Tom Bissell), single shots become story events that mere mention would spoil.

A book can be altered little by little, just enough with each teaching, to slowly change the meaning. The generation before would praise the reading of it but hardly recognize the minimal changes from one version to the next.

All mists curl off the roof of my being. That confidence I shall keep to my dying day. :ike a long wave, like a roll of heavy waters, he washes over me, his devastating presence - dragging me open, laying bare the pebbles on the shore of my soul. It was humiliating. I was turned to small stones.

All mists curl off the roof of my being. That confidence I shall keep to my dying day. Like a long wave, like a roll of heavy waters, he washes over me, his devastating presence - dragging me open, laying bare the pebbles on the shore of my soul. It was humiliating. I was turned to small stones.

A long list of propositions does not necessarily make a coherent argument

Word, image, and sound all must have primacy in the development of the narrative.

You get a lot of narrative energy from people who make really big mistakes, who act against their best interests, who do things that turn out to have serious consequences. It's very hard make a story out of people doing the right thing over and over again.

You know, we love stories and we love narrative; we love to get lost in an author's world.

A journey or pilgrimage also follows the parabolic curve of an arch: it swings out from a known point and returns symmetrically to a point on the same line or plane, but farther along. For this reason, ancient philosophers chose the arch as a symbol for the process of interpretation. That is why teaching stories, such as those of Jesus or Buddha, are known as parables.

All plots tend to move deathward. This is the nature of plots. Political plots, terrorist plots, lovers’ plots, narrative plots, plots that are part of children’s games. We edge nearer death every time we plot. It is like a contract that all must sign, the plotters as well as those who are the targets of the plot.

Arguments, speculation-- conspiracy theories of all kind. The usual thing, right? No one is ever simply assassinated any more. Ever since your Kennedys, it is always a matter of how many stories you can invent to explain the same body of facts. That is the great pleasure of conspiracy theory--not explanation, but narrative. It is like Scheherazade.

Anecdotes came with his DNA.

An undergraduate researching the "witch hunt" cases asked for evidence that there had been more than one hundred cases, noting that the major lists of such cases added up to about fifty. There was no reply that provided documentation to support the claim.[34] The members of the list were generally strong proponents of the witch-hunt narrative. They knew the answer to the question “Is there a child sex abuse witch hunt?” These “witch hunters,” as those on this list soon came to describe themselves, were increasingly activists who used the internet to exchange information and ideas. Jonathan Harris may have done more than anyone else to disseminate the witch-hunt narrative in the mid 1990s and beyond.[35]

And the blabbing, the telling, was the messiest thing of all: getting control of language was getting control of anger and shame, and it was hard, hard to turn it around, to take the mess of experience and make something coherent out of it. Only then did you know that you'd got the better of the things that had happened to you: when you controlled the story rather than it controlling you.

...and yet the idea is hard to accept, it's so hard to succeed in making something happen, even what's been decided on and planned out, not even the will of a god seems forceful enough to manage it, if our own will is made in its semblance. It may be, rather, that nothing is ever unmixed and the thirst for totality is never quenched, perhaps because it is a false yearning. Nothing is whole or of a single piece, everything is fractured and evenomed, veins of peace run through the body of war and hatred insinuates itself into love and compassion, there is truce amid the quagmire of bullets and a bullet amid the revelries, nothing can bear to be unique or prevail or be dominant and everything needs fissures and cracks, needs it negation at the same time as its existence. And nothing is known with certainty and everything is told figuratively.

A poet is someone who can use a single image to send a universal message.

As anyone who has experienced it will know, war is many contradictory things. There is brutality and heroism, comedy and tragedy, friendship, hate, love and boredom. War is absurd yet fundamental, despicable yet beguiling, unfair yet with its own strange logic. Rarely are people 'back home' exposed to these contradictions — society tends only to highlight those qualities it needs, to construct its own particular narrative.

A well-thought-out story doesn’t need to resemble real life. Life itself tries with all its might to resemble a well-crafted story.

As the language areas of the left hemisphere enter their sensitive period during the middle of the second year of life, grammatical language in the left integrates with the interpersonal and prosodic elements of communication already well developed in the right. As the cortical language centers mature, words are joined together to make sentences and can be used to express increasingly complex ideas flavored with emotion. As the frontal cortex continues to expand and connect with more neural networks, memory improves and a sense of time slowly emerges and autobiographical memory begins to connect the self with places and events, within and across time. The emerging narratives begin to organize the nascent sense of self and become the bedrock of our sense of self in interpersonal and physical space

...a true narrative like time and tide must run its course and would respect no man.

But what clicked with Joss most of all was that Greenwalt was able to balance his edginess with an old-school approach to narrative. It was Greenwalt, Joss says, who was “constantly pulling us back to ‘But do we care about Buffy? But is Buffy in trouble?’” “We learned early on when we started writing that we’ve got to have the metaphor,” Greenwalt explains. After all, a storyline that’s just about a cool monster every week would quickly get old and predictable. “You’ve got to have the Buffy of it— what does it mean?

Banyak hal yang dapat dipelajari di jalan dan tidak pernah diajarkan di sekolah formal manapun. Traveling adalah tentang pelajaran hidup untuk membuka mata mengamati dari perspektif yang berbeda, melihat dari sudut pandang yang bukan biasa digunakan.

Bersama siapapun kita berpetualang, traveling adalah salah satu sekolah dengan guru terbaik untuk menjadikan diri kita tumbuh menjadi manusia yang lebih baik.

But there was a catalyst, an event, a moment which changed everything and not just for us. This is good for storytelling but bad for decision making, and it is frightening to look back and realize, were it not for that moment, all of our lives would have been so different. maybe that's revisionist history. Maybe it's me making origin myths. But I can't shake the conviction that Jason's boyfriend's friend's ex-boyfriend's girlfriend changed the world.

By calling into question the very ideal of a universal, autonomous reason (which was, in the Enlightenment, the basis for rejecting religious thought) and further demonstrating that all knowledge is grounded in narrative or myth, Lyotard relativizes (secular) philosophy's claim to autonomy and so grants the legitimacy of a philosophy that grounds itself in Christian faith. Previously such a distinctly Christian philosophy would have been exiled from the 'pure' arena of philosophy because of its 'infection' with bias and prejudice. Lyotard's critique, however, demonstrates that no philosophy - indeed, no knowledge - is untainted by prejudice or faith commitments. In this way the playing field is leveled, and new opportunities to voice a Christian philosophy are created. Thus Lyotard's postmodern critique of metanarratives, rather than being a formidable foe of Christian faith and thought, can in fact be enlisted as an ally in the construction of a Christian philosophy.

Being in the belly of the beast has its benefits.

Berg was proud of his storytelling to the point where he collected stories about telling stories.

Christianity tells a big story. It allows us to see our own story in a new way.

Does being true to one's self mean offering the literal truth or the truth that should have been, the truth of the image of one's self? It hardly matters by this time. By this time the border between seeing straight on and seeing round the corners of solid objects, between the world as smooth and coherent and the world as dissociated skinless particle, is thoroughly blurred. No longer a case of double vision, but of two separate eyes whose separate visions - what happened and what might have happened - come together in what we call the past, which we see with hindsight. Memory is revision. I have just destroyed another piece of my past, to tell a story.

Cultural Marxism, now called "Political Correctness" is a loaded gun that one puts to their own head. The narrative illusion normalizes the abnormal and is an elitist weapon over minions for citizen vs. citizen policing for establishment control.

December 29, 1946: Snowing this morning. The year seems to be dying in a light white blanket. Only three more days of this year, then comes a new one. Then, what? No one knows. -- Diary of Bertha Kate Gaddis who passed away 6 months later, age 78, West Lafayette, IN.

Greed has already poisoned their minds, they cannot see they are being robbed.

Everyone listened to this amusing narrative with great interest, and the moment that Behemoth concluded it, they all shouted in unison: 'Lies!

Feminist narrative theory notes that for most of literary history there's been an imbalance between men's and women's stories. Male characters go out into a world of infinite possibilities. Female characters either get married or die. This makes enlightened female readers such as ourselves pissed off. But however much we deconstruct the narrative, however vigilantly we plow and apply the theory and read with our skeptical, over-educated eyes, still some lessons are hard to fully internalize, and the dream of happily-ever-after love, in real life and in literature, dies hardest of all.

Hello Sweetheart. Your narrative is yours alone to write. Seize it, immediately.

How curiously one is changed by the addition, even at a distance, of a friend. How useful an office one's friends perform when they recall us. Yet how painful to be recalled, to be mitigated, to have one's self adulterated, mixed-up, become part of another.

Henry Luce to his Time magazine writers: "Tell the history of our time through the people who make it.

Here in Alpha City, we have a common saying: “What we call ‘sky’ is merely a figment of our narrative.” The most dreamy-eyed among us seem to adorn themselves and their aspirations in that proverb and you’ll see it everywhere: in advertisements on the sides of streetcars and auto-rickshaws, spelled out in studs and rhinestones on designer jackets, emblazoned in the intricate designs of facial tattoos—even painted on city walls by putrid vandals and inspiring street artists. There is something glorious about kneading out into the doughy firmament the depth and breadth of one’s own universe, in rendering the contours of a sky whose limits are predicated only upon the bounds of one’s own imagination. The fact of the matter is that we cannot see the natural sky at all here. It is something like a theoretical mathematical expression: like the square-root of ‘negative one’—certainly it could be said to have a purpose for existing, but to cast eyes upon it, in its natural quantity, would be something akin to casting one’s eyes upon the raw elements comprising our everyday sustenance. How many of us have even borne close witness to the minute chemical compounds that react to lend battery power to our portable electronics? The sky is indeed such a concealed fixture now. It is fair to say that we have purged our memories of its true face and so we can only approximate a canvas and project our desires upon it to our heart’s dearest fancy. The most cynical among us would ostensibly declare it an unavoidable tragedy, but perhaps even these hardened individuals could not remember the naked sky well enough to know if what they were missing was something worthwhile. Perhaps, it’s cynical of me to say so! In any case, we have our searchlights pointed upwards and crisscrossing that expanse of heavens as though to make some sensational and profane joke of ourselves to the surrounding universe. We beam already video images of beauty pageants and dancing contests with smiling mannequins who look like buffoons. And so, the face of space cloaks itself behind our light pollution—in this respect, our mirrored sidewalks and lustrous streets do little to help our cause—and that face remains hidden from us in its jeering ridicule, its mocking laughter at this inexorable farce of human existence.

I can't allow what we learned in English composition to disrupt the sound and rhythm of the narrative.

I believe we find imaginative satisfaction in stories that end with weddings because we live in a world that will end with a wedding. The Bible tells the story of history, a story that is mysteriously 'built into' the structure of our minds and practices, so that even writers who resist this story cannot help but leave traces of it—faint and distorted as they may be—on every page.

I don't pay much attention to the distinction between fantasy and science fiction–or between “genre” and “mainstream” for that matter. For me, all fiction is about prizing the logic of metaphors-which is the logic of narratives in general–over reality, which is irreducibly random and senseless. We spend our entire lives trying to tell stories about ourselves–they’re the essence of memory. It is how we make living in this unfeeling accidental universe tolerable. That we call such a tendency “the narrative fallacy” doesn’t mean it doesn’t also touch upon some aspect of the truth. Some stories simply literalize their metaphors a bit more explicitly.

I'd never had a mind for math. ... It was a logic that made little sense to me. In my perception, the world wasn't a graph or a formula or an equation. It was a story.

If we possess narrative sympathy - enabling us to see the world from other's point of view - we cannot kill. If we do not, we cannot love.

I learn about how stories work for the same reason that soldiers learn how to strip a rifle. You should, too.

If you write then you are reborn because by writing about the moment, you can relive it for a second time.

It might be most dramatically effective to begin the tale at the moment when Arnold Baffin rang me up and said, "Bradley, could you come round here please, I think I have just killed my wife.

In the end I began to understand. There is such a thing as absolute power over narrative. Those who secure this privilege for themselves can arrange stories about others pretty much where, and as, they like. Just as in corrupt, totalitarian regimes, those who exercise power over others can do anything.